Hannah Sawtell is a musician and artist based in London. She is the guest editor of the ninth edition of The Happy Hypocrite #ACCUMULATOR_PLUS, a biannual journal led by various artists writings.
In her work, Hannah Sawtell considers the relationship between the surfaces of images and objects, and the multiplicity of structures that underpin them. Through a variety of media—installation, video, print, radio broadcast, sound, publication and performance—she renders the fluidity of digital images with spatial, physical, and temporal qualities, and critically points to their function. Sawtell’s multi-disciplinary work is concerned with the consumption of images and objects in a globally connected society, and aims to provoke debate around the technology of access, labour, capital and surplus, desire and excess. Describing her method as investigating ‘the screen as a lens’, and using the Internet to research and shape her approach, Sawtell’s work exploits the processes and materials accessible in the current culture of connectivity. Alluding to the repetitive nature of contemporary production, much of her influence comes from her previous work as a DJ and in running Detroit’s Planet E Label, and she often integrates noise, rhythm, and beat as part of her video works and performances.
Hannah Sawtell lives and works in London. Recent solo shows include Accumulator (New Museum, New York), Re: Petitioner in Zero Time 2 (Bergen Kunsthall), Standardiser (Focal Point gallery Southend), all 2014; and two linked exhibitions at the ICA, London, and ICA at Bloomberg SPACE, London (2012), for which she published Broadsheets 1-3, a publication distributed with Business Week magazine, and realized Sonic Lumps, a performance in collaboration with the band Factory Floor. Group exhibitions include MirrorCity (hayward Gallery London 2014), SoundSpill (Zabludowicz Collection, New York 2013), With the Tip of a Hat (Artist’s Institute, New York 2012), Novel (a screening for Time Again hosted by the Sculpture Center, New York 2011), Outrageous Fortune: artists remake the Tarot (Hayward Touring/Focal Point Gallery, Southend 2011), and The Great White Way Goes Black, (Vilma Gold, London 2011). She was included in Assembly: A Survey of Recent Artists’ Film and Video in Britain 2008–2013 (Tate Britain 2013) and was shortlisted for the Jarman Award 2013.